Out of Sync in Havana: Two Socialist Visions of Global Contemporary Art

IF 0.3 2区 艺术学 0 ART
Sohl Lee
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引用次数: 0

Abstract

On 1 November 1989, when the third edition of la Bienal de la Habana opened its doors, the show included ink paintings from North Korea called chosŏnhwa (literally ‘Korean paintings’). By that time, the Korean–Cuban friendship had lasted for more than three decades, following its formation after the 1959 Cuban Revolution, and based on the principle of Third World solidarity. But this encounter in 1989 illustrates that their contemporary art was out of sync with one another. The Korean presentation contrasted with the more installation-oriented, inter-media works submitted by Cuban artists who were part of the ‘New Cuban art’ wave. As an archeological study on these two starkly different visions of ‘contemporary art’, this essay sustains a bifurcated view onto Pyongyang and Havana as a method with which to reassess the culture of Third World politics and post-coloniality at the Cold War's end, and to propose a translocational, South-to-South method of art history.

在哈瓦那不同步:全球当代艺术的两种社会主义愿景
1989年11月1日,当第三届哈瓦那双年展开幕时,展出了来自朝鲜的水墨画chosŏnhwa(字面意思是“朝鲜画”)。当时,以第三世界团结原则为基础,在1959年古巴革命后建立的韩古友谊已经持续了30多年。但1989年的这次相遇表明,他们的当代艺术彼此不同步。韩国的展示与“新古巴艺术”浪潮中的古巴艺术家提交的更倾向于装置的跨媒体作品形成鲜明对比。作为对这两种截然不同的“当代艺术”视角的考古研究,本文坚持将平壤和哈瓦那作为一种重新评估冷战结束时第三世界政治和后殖民文化的方法,并提出一种跨地域的、南到南的艺术史方法。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.70
自引率
20.00%
发文量
51
期刊介绍: Art History is a refereed journal that publishes essays and reviews on all aspects, areas and periods of the history of art, from a diversity of perspectives. Founded in 1978, it has established an international reputation for publishing innovative essays at the cutting edge of contemporary scholarship, whether on earlier or more recent periods. At the forefront of scholarly enquiry, Art History is opening up the discipline to new developments and to interdisciplinary and cross-cultural approaches.
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